The interwar period (1918-1939) was a truly unique time. Poland regained independence in 1918, and that triggered a free development of national culture. It was a time to catch one’s breath, to let in the artistic freshness of Western Europe, and to shape and develop the language of art. Literary life was flourishing and poetic (…)
Therefore, before determining what Maciejewicz’s artworks are, it is worth reflecting on what they are not. First impression may be deceiving since they are not paintings. Yet, seeing the framed artworks, it is no surprise that we perceive them as carefully painted scenes, at least until we come closer and our vision sharpens. The illusion (…)
In Painting’s Defence. Some Thoughts on Mariusz Kruk’s Painting. Painting has been pronounced dead countless times. It started shortly after the discovery of photography as far as in the 19th century. Demanding painting skills seemed liked an anachronism already then, in the times of ground-breaking inventions. In the 60s the death of painting was declared (…)
1. As a child I did not see any difference between East and West Germany. It all belonged to the mysterious West – better toys, chocolate, wine gums. Everything had a different smell. I remember my uncle from Dusseldorf, who sent us colourful markers, stickers, Haribo Gummi Bears. All that was so different to everything (…)
The story proposed by Magdalena Franczak is an emotional but humble story of winning nature. The artists understands nature as something that cannot be comprehended or stopped, something primeval, overwhelming; something of unfinished construction, because it undergoes changes in the constant process of rising and falling. It is difficult to comprehend it especially as, according (…)
A storm drain grate, a tyre halfway in the ground, a bicycle stand, a birdhouse, a rubbish bin, a toilet, an advertising pillar, a cement mixer, an old Volkswagen Beetle … Every day objects that we all know, “useful objects”, sometimes visibly worn-out, considered to be of “lower rank”. We use them and take them for granted. We do not care to notice them in their unattractiveness.
Primal Alchemy fragments of a text by Iza Tarasewicz All presented works concern the domination of the sense of sight. Choosing it as the main means of contacting with the audience, the artists invite the viewer to cross over to the other side, where the light is dim, the outlines are blurred and we begin (…)